"Cassadaga" delivers a memorable murderer, a captivating heroine, and enough ghost-charged atmosphere to recommend it as both supernatural suspense and as a serial killer thriller.

For all its attempts at an unconventional editing style, “The Secret Village” is a fairly conventional story that ultimately collapses from a disjointed delivery and a disappointing resolution.

Decent performances fight off narcolepsy in places, but “Mischief Night” has nothing original to say, and no new ways to say it.

“Butcher Boys” mirrors so much of "Texas Chainsaw Massacre" that it can be considered a contemporary retelling of the same story updated for a new generation.

("The Bell Witch Haunting") stays mostly true to the particulars of the legend, but disregards respect for the audience with an overreliance on convention and a lackadaisical approach to detail.  Formulaic in every way, this is more grist for the mill for anyone who wants to shake his/her head and yawn at the “found footage” sub-genre.

What ("Amnesiac") cannot do is inspire an audience to invest in stakes confined to one room and five people in a story that builds intrigue with all the intensity of a slow dripping leaky faucet.

To paraphrase (Albert Einstein), continually watching films from (The Asylum) and expecting one of them to break the mold of downright awful to mediocre at best is about as insane as it gets ... “13/13/13” is not just bad, it is bizarrely bad.

 “Killer Holiday” may look more professionally polished than most independent horror movies, but it is ultimately another uninteresting slasher with as dead of a pulse as its less technically accomplished competition.

The real mystery though, is who is this movie for? The disparate tones that seesaw back and forth target half of the movie for one audience, and leave the other half for another.

“Red Clover” is as good as any other monster movie on SyFy and it is certainly no worse than any of the entries in that “other” series of films about killer creatures from the Emerald Isle.

There is more red plasma to be found within the 95 minutes of “Macabre” than there is stocked inside an entire fleet of American Red Cross mobile blood banks.

... Its plot ends up being no different than any of those overused haunted asylum investigations, except “Skinwalker Ranch” takes place on 1,000 acres of farmland instead of inside an abandoned mental hospital.

“Look What’s Happened to Rosemary’s Baby” is not a hidden gem, but it is an entertaining curiosity in an “I can’t believe they actually made this” kind of way.

“All Hallows’ Eve” is not the type of middling distraction that one regrets spending time with, but it is the sort of experience that leaves the viewer with a stomach rumbling for something more satisfying.

 “After Effect” has some notable performances, a creepily effective musical score, and good production value on a small budget.  Unfortunately, it also has limited tension, erratic pacing, and an unsatisfying payoff that keep it from shining as a solid example of body horror or zombie suspense.

I cannot fathom a scenario where any viewer would consider investing even one minute in “4 Dead Girls” as time well spent.

Somewhere between “The Cabal Cut” and the theatrical version exists an edition of the film that excels even further.  The filmmakers just need their Narcisse to provide final directions on how to get there.

Not without redeemable charms, “Nightbreed” is far too bloated by its own ambition to have ever had a chance of succeeding with compromised creativity or with an abbreviated runtime.

“Amy” is the kind of bad produced by misguided filmmakers that just do not know any better. And sadly, the only emotion “Amy” evokes from the audience is head shaking sympathy for everyone involved.

Although four of the five segments have noticeable flaws that lead to underwhelming moments, there are enough interesting story ideas and creative choices on hand to make the package enjoyable.